"The Tank," a film set in 1978, begins with the protagonist, Ben, receiving shocking news about his late mother. He learns about a coastal property in Hobbit’s Bay, Oregon, left behind by his father that his mother never disclosed. Further revelations surface, such as his father and sister perishing by drowning in the bay instead of a car accident, as previously believed.

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While caution might dictate avoiding such a location, Ben decides to investigate. He is accompanied by his wife, Jules (Luciane Buchanan), and their daughter, Reia (Zara Nausbaum).

In an unexpected twist, the director and writer, Scott Walker presents the property as a long-forgotten relic - boarded up, covered in plant growth, and filled with the damp and dust one might expect from years of neglect. Yet, the sight of the coast from the house is captivating. The property also houses a water tank, eerily similar to one seen in the movie's prologue.

However, the novelty ends there as the narrative shifts towards more familiar territory. Walker incorporates a series of clichéd elements. They include newspaper cuttings detailing mysterious deaths and disappearances, ominous night-time sounds, nightmares for Jules, Ben injuring himself on the water tank, and the discovery of what seems like "aquatic larvae."

Regardless of the predictability, Walker, along with cinematographer Aaron Morton, excellently utilizes the house, water tank, and adjacent cave. They create an atmospheric environment punctuated by periodic thrills.

Despite a minimalistic cast, the film retains interest. Following the departure of the lawyer in the opening, until the introduction of Merial, a realtor, around forty-five minutes into the movie, the narrative primarily revolves around two characters, occasionally interspersed with scenes featuring Reia and flashbacks.

"The Tank" concludes with a suspense-filled, intermittently violent climax. A creature resembling the monster in Roger Corman’s "Forbidden World" reveals itself. However, the sparse cast somewhat restricts the narrative here, as unfamiliar characters are as easy prey for the monster.

"The Tank" was shot in New Zealand, although set in Oregon. It boasts impressive practical effects from WETA, offering a preferable alternative to CGI. The creature design is compelling. The effects of its attacks are striking, though not overly graphic, which contributes to the film's "R" rating.

Despite these strengths, the film is unoriginal, with discernible influences from "Aliens," "The Descent," and Stephen King’s "Graveyard Shift." However, as has been mentioned in a previous review, if a film cannot offer a fresh perspective on a well-worn genre, it should at least tell the story well. "The Tank" manages to do this, and includes a mid-credits scene suggesting possible future plot developments.